“A Midsummer Night’s Dream” by William Shakespeare is a comedic tale of lovers, fairies, and horrible actors. In this play, like most of Shakespeare’s plays, has many parts. All of the various parts and characters intertwine and all coincide into a complicated plot. Demetrius; Helena’s unwanted suitor brings tension into the the lopsided love triangle. Robin Goodfellow; a mischievous sprite who serves the king of fairies Oberon, also brings much conflict but is has a wonderful sense of humor.
Last is the effort of the “rude mechanicals” to put on a play. Athens and the forest are the two settings for A Midsummer Night’s Dream because they represent the oppositions between reality and magic, order and chaos, and rationality and imagination. In Athens and the forest there is a clear distinction between reality and magic. We know that Athens is realistic because there is law and order in the community as well as leaders of Athens. An example of members of the community and the leaders of Athens having order is when Egeus goes to Theseus for guidance.
A Midsummer Night’s Dream and Sir Gawain and the Green Knight can both be examined as low fantasy tales. A low fantasy tale is ‘characterized by being set in the primary, or "real" world, or a rational and familiar fictional world, with the inclusion of magical elements’ (Jonathan Mackley). However, they fall into contrasting sub-genres. While the former can be argued as a “fairy story” because of its inclusion of magic and fairies, the latter, even though it involves magic, can be regarded as more of a chivalric fantasy
The storyteller can defy the laws of nature, use elements such as magic, time travel, or talking animals. The reader becomes engulfed in an original, extraordinary universe, and he chooses to believe it all, even though the story may defy his sense of logic, reality, and reason. Furthermore, fantasy serves a purpose, just like any other genre. Of course, fantasy allows people to escape their everyday lives and embark on a magical journey. The fantastical elements in the tale lead to entertainment for the audience.
A Midsummer Night 's Dream is the apotheosis of a free, self-determined love which transcends tradition, the ancient law of Athens, and paternal authority. Schematically, the play is a masque. Shakespeare does not destroy its form, as in the case of the pastoral in As You Like It, but uses another method. The formal, ancient mythology is supplanted by plebeian superstitions (fairies, the mischievous Puck). Shakespeare instills vital emotion into the tenuous scheme of the affected court masque.
“A Midsummer Night’s Dream” by William Shakespeare is a play that explores the differing representation of the two main settings. The city is seen as the “real” world where there are issues and resolutions that are rational, whilst the forest is seen as the “realm of dreams and imagination” and is where humans don’t have jurisdiction over what happens. This difference in worlds is shown when the protagonists act against their taught social and gender normalities when in the forest. The disparity between these two settings is reinforced when the fairies are present in the forest, with their actions having large impacts on the other protagonists. In the play the city is seen as real due to laws that are introduced that were most likely enforced
The art of storytelling is at the heart of fairy tales. Since the beginning, fairy tales have captivated readers with its magical worlds and enchanted characters. Quintessential to fairy tales are destined happy endings and the clear division between good and evil. The nature of these stories creates distorted perceptions that do not align with reality, making it difficult to distinguish between reality and illusion. This is portrayed in Terry Pratchett’s Witches Abroad, in which Lilith Weatherwax struggles to free herself from the fictitious world she has fabricated.
The power of love could make people suddenly change the person whom they love and thus create a bizarre and chaotic situation. The magic and power of love is explicit in the play A Midsummer Night’s Dreams that shows love is irrational and blind.Shakespeare makes use of the romantic
Opera is not verbally translatable, so, the interpretation process of the audience are influenced by revisions of a work. Music and libretto dictate the narrative and the action. Through this, they advance the action in in the limited period of time that they have; integrating the complex actions between real and dramatic time to deepen the narrative microcosm that is presented to us. The audience will identify with characters emotions and moods through an absurd medium but with such a rich empathy that it reaches us in a unique manner. Thus, there is a creation of this elite musical culture engrained into society and their values.
However, despite the extreme unusualness and complications, the characters challenge the circumstances, and persist in loving the one they feel closest to. In this play, this situation is best represented by three significant relationships. The first exists between a lover and her hater, the next involves a young and rebellious couple, and the last concerns an ill-fated mechanical and the queen of the fairies. Early in
Fantasy has the ability to re-enchant the audience into a world far away from their own, a world that follows different rules and is crowded with imaginary creatures. Or at least that’s the case for high fantasy. What I think is compelling about urban fantasy, and why I decided to write in this genre, is that it finds a way to let magic enter our own world, despite the fact that science, facts and experience are what forms the basis of our society, leaving very little space for fairy dust. In Neverwhere Gaiman pictured London, a real well-known city, and asked: what if there is a part of London we don’t get to see? And that part is an enchanted London, where Knightsbridge is no longer the shiny residence of Harrods but becomes a mysterious